Ikegami announces a new addition to its range of broadcast quality television cameras. The HDL-57 is a compact high-definition camera designed for use on remotely controlled pan/tilt heads in applications such as parliamentary television or robotic studios. It can also be used wherever a high-grade fixed-position compact camera is required for intercutting with the output from full-size studio cameras. Camera head and controller are housed in a single robust rectangular unit measuring 90 x 103 x 180 mm (width x depth x height) and weighing 1.5 kg. The HDL-57 can be operated remotely or via its rear control panel.
Three advanced 2.5 megapixel 2/3 inch CMOS sensors are employed to deliver wide dynamic range and, in principle, no smear. Each sensor incorporates active processing circuitry and delivers a digital output to the camera’s digital signal processor, all in a very small device with low power consumption. The sensors are equipped with native progressive and interlace modes. 1080/59.94i, 1080/50i, 720/59.94p, 720/50p and 1080/23.98p are available from the camera head. 1080/23.98p output is available as an option.
Full digital processing is employed within the HDL-57, from imagers to HD-SDI output, delivering high signal integrity and high picture quality as well as stable and reliable operation. Master gain is processed through a high-grade low-noise amplifier with negative feedback. Video noise cancellation circuits deliver images of wide dynamic range even at high gain level. Specified performance parameters include F11 at 2,000 lux sensitivity, 60 dB signal-to-noise ratio and 1,000 television lines resolution in 1080i format (700 TVL in 720p format).
Among the operating features of the HDL-57 are six-position switchable gain (0 to +30 dB), six electric shutter speeds (1/100 to 1/2,000 second), four-position optical filter (100, 25, 6.2 and 1.6 per cent) and a two-position electronic colour correction filter (3,200 and 5,600 K). The optical filter wheel is motorised and can be operated from Ikegami remote control panels such as the RM-50B and OCP-300. Using these filters in combination, the camera can handle a very wide range of lighting conditions. Auto-white-balance mode is available to cover the full range of colour temperatures.
The Ikegami HDL-57 operates on 12 volt DC power (11 to 16 volts), consuming 18 watts or less. It delivers two HD-SDI outputs and has a reference signal input accepting tri-level HD sync. The camera will be demonstrated on the Ikegami stand (11.A31) at IBC2015, Amsterdam, September 11-15.
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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